Painter completed two things, namely preservation and coloring of painted material. The compound used for painting, taking a word that means a protective layer and/or decorative thin, is plentiful, including oil paints of various types, distemper, lime, tar; but the word paint is usually limited to a mixture of oils and pigments, milled together in a process that thoroughly coats any tiny particles of pigment in oil, along with other materials that have the properties required to allow paint to dry out hard and with a degree of flexibility and varying degrees of opacity/translucency. Oil paint consists of four parts, base, vehicle, solvent and dryer. Pigments can be added to this to get the desired paint color. There are several foundations for oil paint, which are most commonly used to build jobs that lead white, red lead, white zinc and iron oxide.
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The base layer
White coloring is the base for paint. It is toxic, and used with caution, when used altogether. When pure it consists of about 75% lead carbonate and about 25% lead hydrate. It is mixed with 6 or 7% by weight of pure flax seed oil, and in this form is supplied to the painter. Barium sulfate is a head eater used in the manufacture of white tin. The white lead has greater properties and is more durable than other bases. Paints have a white lead for a dark base with age, and become discolored when exposed to hydrogen sulfide, which exists for most or less in the air from all major cities.
White zinc, zinc oxide, is a pure white color than white lead. Lighter, but lacks the same endurance or power. This, however, is useful in internal decoration, because it maintains its color well, even when exposed to gas action. The red lead is the lead oxide. It is used primarily in priming layers and as a base for some red paint. Like white lead, it gets hurt if exposed to acid or dirty air, which causes discoloration and decay.
Iron oxide is used primarily as a base in paint used to cover iron, the theory that no destructive galvanic action can be regulated, as is the case with lead paint when used on iron. A variety of red pigments are made of iron oxide, varying in color from pale to deep brownish red. They are quite permanent, and can be used under any circumstances. This vehicle is a liquid in which the basic particles are held in suspension, allowing a thin layer of paint to be formed, uniform in color and consistency, and which on drying forms a kind of skin over the applied surface.. For oil paint the vehicle used is oil; for water distemper use. The oil used as a vehicle mainly is linseed oil, raw and boiled, and poppy seed oil. Peanut oil is sometimes used for inferior work because the price is much cheaper. Linseed oil, the most commonly used, is obtained from flaxseed by heating it and squeezing the oil under hydraulic pressure. The result, which is transparent yellow, is known as "crude oil". It is used primarily in interiors for light, vibrant colors, drying rather slow and provides a strong elastic coating. Oil increases by keeping, and sometimes enhanced with acid or base.
Boiled oil is a heated crude oil, such as litharge or red lead, to a temperature of from 350 ° to 500 ° F, which is maintained for three or four hours. The color is thicker and much darker than crude oil, dries faster, with a hard and shiny coating but is less elastic than that produced by crude oil. Poppy seed oil is expressed from poppy seeds. It lacks the strength and rapid draining power of boiled linseed oil, but becomes a very light color used for subtle colors. Turpentine is used as a solvent, diluent, or diluent, to bring the paint to the proper consistency allowing it to spread in thin and even thin layers. When flat surfaces are boring desired, only turpentine is used with base and oil removed. The best turpentine comes from the pine forest in America. French turpentine is the next quality. Russian turpentine is the cheapest, and usually has a strong and unpleasant odor that makes it inappropriate to work with. As a result of the high price of turpentine being of good quality, and the more difficult it is to get it, the replacement starts to be used in general. Dry is a substance that is usually added to the paint to speed up the oxidation process, ie drying, from the oil. Some pigments have these qualities, such as lead and red lead.
The most important dryers are litharge, lead sugar, patent dryer, zinc sulphate and manganese dioxide. A liquid dryer, such as terebene, is also used. Litharge, lead oxide, most commonly used. Tin sugar is used, ground with oil, for light tints. Zinc sulphate and manganese dryers are used for paints where white zinc is essentially, to be injured by a lead dryer. Pigments are preparations of metals, soil or animals mixed into paints to give them color. For oil paint they are usually milled with oil; for distemper, they are sold as finely ground powder. Ordinary pigments are white tin, white zinc, umbers, siennas, ochres, chromes, Venetian reds, Indian reds, soot, black bones, black vegetables, navy blue, Prussian blue, bright red, red lead, iron oxide, lake and brown Vandyke. The term enamel paint was first given to white zinc compounds, gasoline and resin, which have a hard and glossy surface coating. His name is now applied to any colored paint of this nature. The quick dry enamel is a milled spirit varnish with the desired pigment. To paint dry and dry enamel oil form a vehicle.
Wood work is often treated with a thin transparent colored liquid that changes the color of the work without hiding the grain, and if the latter is good, very fine results are obtained. Sometimes the stain is produced by a combination of two or more chemicals used separately, or the soluble pigment can be mixed with transparent vehicles and applied in the normal way. Vehicles for pigments vary, and include clear water, alcohol, size, turpentine and crude linseed oil. Varnish is made by dissolving certain gums in linseed oil, turpentine, spirits or water. They provide a transparent protective coating for painting and tinted surfaces or for plain wallpaper or wood. Varnishes are usually dry with very smooth, hard and glossy surfaces, but flat or non-gloss surfaces can be obtained with special varnish. Gums used for wear-resistant varnishes or carriages, such as those exposed to the weather and often cleaned and polished, are amber, copal and gum anime. Amber is a transparent or dark yellow lump found on the Baltic coast, and especially in Prussia. It makes lacquer hard, durable and slow dry which is not dark with age. Chewing gum is brought from the West Indian Archipelago and also from the East Indies. It makes the most durable varnish, and becomes hard and hard generally used for external work. Anime Gum, is a variety of copal found in sandy soils in the East Indies.
It's hard, durable and quick to dry, but unless the varnish is carefully crafted it tends to crack. Varnish for inner work, or cabinet varnish, made with various resins dissolved in linseed oil and turpentine. The results provide a hard and shiny surface, somewhat less durable compared to lacquer vans. Varnish tarps made of soft sap, like resin, ordinary resin and mastic; the color is light, cheap and not durable. Varnish or spirit varnish made from very soft sap, such as lacquer and sandarach, dissolved in a methylated spirit. They are used for internal work, dry quickly, and become hard and very brilliant. The surface formed with such varnishes tends to be easily cut and reduced. Oil paints are greatly enhanced by the addition of some varnishes; it causes it to dry harder and faster and with a smooth lustrous surface. Dryers used for varnish are generally acetate lead or litharge. Excess dryers make varnish less durable and cause cracks. There are many types of French polishes, mixed in different ways, but most consist of lacquer and sandarach that are dissolved in the spirit. It is applied to a very fine hardwood surface with flannel pads or lumps wrapped in linen, and rubbed in a circular motion.
A dull paint is obtained by rubbing beeswax into the wood. It should be thoroughly polished, a little turpentine is added as a lubricant when the rubber is working rigidly. If the paint is applied over new wooden blades to be destroyed, or at least discolored, by the resin exudation of the knots. For the purpose of nullifying this, the knots are covered with two layers of preparation called knotting, made by dissolving the shellac in the methylated spirits. Putty is required to stop the nail holes and small cracks and irregularities in the woodwork. It is made of betel lime powder and linseed oil mixed together and knead into a stiff paste. For light work, stop hard, made of white tin and whiting, should be used. Painting tools and equipment are mixing pots, paint to hold paint colors for painters in the workplace, strainers, palette knives, friction knives, hacking, stopping and carving knives, hammers, sponges, pumice, inflatable lights for burning off, and various brushes , such as washcloth, soil brush, tool, brush distemper, fitch and camel-hair pencils to select parts and small lines, sable and flogger for gilding, stippler; for grained work, some comb steel comb with rough and fine teeth, pig hair brush comb, pencil on top of grainer, and other special brushes used to get strange characteristics of different wood. It's important to do a good job using brushes of good quality, and although expensive at first cost, they are undoubtedly the cheapest in usage.
New wood needs to be tied, prepared, stopped, and beside painted with three or four layers of oil color. The priming layer is a thin layer of white lead, red and dry tin mixed with linseed oil and turpentine. Work must always be prioritized before the dismissal is complete.
The second or lead layer consists mainly of linseed oil, turpentine, and white tin. The third layer is ground for finishing colors, and is made of white tin and linseed oil and turpentine, with enough pigment to bring it to a color near the finishing color. The remaining coat or mantle has the same composition. Flatting coats are made of white tin and turpentine with desired pigments. A pound of color will cover 4 square meters in the first layer and 6 square meters in an additional layer.
Maps Painterwork
Graining
Graining is understood among painters as artificial imitations mimicking several different species of wood, such as satin wood, rosewood, mahogany, oak and others. Once the required coat of paint has been placed on the wood, the soil is then laid out of the required color and allowed to dry. The painter then prepared a small amount of the same color with a little chocolate, and boiled oil and turpentine, and, after mixing it, spread to some small part of his work. A flat pig hairbrush dipped in a liquid and pulled down a newly laid color, shades and granules are produced. To get a mottled look of camel hair pencil is applied, and when finished the work is left to dry, and after-closed covered by a coat or two fine copal lacquer. Imitation sliderscot requires the use of various degrees of combs to get grains (from which this process is called combed by several people), and flowers are obtained by wiping the color with a piece of cloth. When dry it is too much to get a more complete representation of natural wood, and then varnished.
If work is done in watercolor and not in oil, the beer base to act as a dryer is mixed with color; this makes it ready for varnishing. The graining patent machine, a kind of roller with a pattern on it, is often used.
Marbling
Marbling is a faux finish that mimics the original marbles and granites, some of which are represented by sparks on carefully prepared soil, which should be painted and often polished and polished to get a flat surface; others should be painted in color, and then varnished well.
Painting plaster
The stucco should not be painted until it is completely dry. Portland cement should be left for one or two years before painting. Previously unpainted plaster will require four or five layers, Portland cement five or six. If the printed work needs to be painted immediately, it should be done in Keene or Parian cement. More paint is of course absorbed by plaster than with wood, as wood absorbs more than iron.
Iron firing
The work of iron and steel must accept the oxide paint coating on the manufacturer; Additional coat added after erection. All rust must be removed first by using a wire brush and paraffin or turpentine. The best paint for external iron consists of iron oxide and red lead, mixed with linseed oil. The following is an excerpt from Johannesburg municipal building legislation: All metal structural work should be cleaned of scale and rust before painting.
The surface of Faying in the glued work should be painted before uniting it. All steel or iron surfaces that are inaccessible after erection should be protected as far as possible either by coating them with `Smith's' or other approved bitumen composition, or by filling the space they attach with lime concrete. Repainting Old Jobs. Before beginning to repaint any descriptions, everything should be thoroughly cleaned. If the surface is in good condition, it will be enough to scrub with good soap and water and after that sponge and dry cloth. If the work has become rough, it is often necessary to use pumice stone to facilitate the cleaning operation. The pumice stone should be cut or rubbed onto a flat surface and applied strongly with plenty of clean water. It is important that the work should be sufficiently dry before the paint is applied. If the old surface has been cracked and blistered, no amount of rubbing with pumice will allow workers to get good soil for new coats, and it will be necessary to remove the old paint completely. For this purpose the painter most often uses a paint burner or torch that burns paraffin oil under air pressure. This causes the paint to soften and blister under heat, where it is readily eroded by a blunt knife. An ancient plate filled with charcoal held close to the surface with a long handle is now not often used. Recently there has been a significant increase in the use of chemical paints in the form of pastes or liquids; as this rule contains some alkali, such as chalk or caustic soda.
Preparation is brushed onto the paint to be thrown away, and within ten minutes to half an hour the paint becomes very soft making it easy to scrape.
Blistering and cracking
Painted surface coating can be caused by several ways. If on iron, it may be the result of rust particles that, not removed in the cleaning process, have increased in size and loosened the paint. If on plaster, uncoated lime particles may have broken, with similar results. In wood, the heat is usually caused by a painting on a wet surface or on a timeless wood. Blisters can also be caused by the use of too much oil on heat-exposed paint, or applications from one layer to another before the last one is dry. To prevent the heat of a well-tried method with a good result is to apply two layers of watercolor (washable distemper) and followed by two layers of oil color or varnish. Cracking is caused by the use of too much oil on under coat and too little on topcoats.
Distemper
New plasterwork should be dry enough before the distemper is applied. The work must be stopped (ie, any irregularities filled with paris plaster mixed with whiting and water into the paste) and then rubbed perfectly with glass paper. Clairecole, a thin-size solution and whiting, is then applied to make the plaster not absorb, and this is followed by the distemper of the desired color. Distemper made by soaking whiting in clean water to cream consistency.
For this a preheated filler is added, and the pigments required for mixing; the whole is then well stirred and filtered to remove any bumps. Many patentable wash distempers under fancy names are now on the market in the form of pasta or powder, which only need to be mixed with water for ready use. If applied to wooden distempers tend to peel. Single-knot brush for cornices and other molds and two-knot brass and brass for flat surfaces are usually used for distempering and whitewashing. The granular surface is produced by affixing or wiping the surface with a coarse bristled brush specially made for this purpose.
Gilding, and so on
A very rich effect can be generated both in external and internal decoration by the use of gold or silver ore prudently. But in the application, it should always be remembered that they are metal, not paint, and they should only be used in the right position for the real metal. The Dutch and other artificial metals cost about a third of the original plating price, and need to be protected from oxidation by the varnish lining. Gold leaves affixed to the size of gold or other adhesive preparations. The best and most durable work is oil plating, which involves less labor, and results in a richer appearance than any other method. The work is usually first thought of with boiled linseed oil and white tin, and then covered with a finely ground sticky composition called gold size, where, when almost dry, the gold leaf is placed on a narrow strip with a soft brush, and press by pad of the cotton held by the fingers. Because the slippage should be made slightly overlapping to ensure a thorough covering of the entire surface, the loose edges will remain unbound, to then be removed with a large sable brush or camel hairbrush.
Joints, if work is executed skillfully, will not be seen. For glossy plating, the work must be covered with various layers of gluten, plaster and bole, the latter mixed with the size of gold to secure leaf adhesion.
See also
- Paint
- Artificial painting
References
This article incorporates text from publications now in the public domain: Ã, Chisholm, Hugh, ed. (1911). "Painter-work". EncyclopÃÆ'Â|dia Britannica . 20 (issue 11). Cambridge University Press. pp.Ã, 457-459.
Source of the article : Wikipedia
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